The body is like a sentence that invites us to rearrange it, so that its real meaning becomes clear through a series of endless anagrams.
Nonmathematical people sometimes ask me, “You know math, huh? Tell me something I’ve always wondered, What is infinity divided by infinity?” I can only reply, “The words you just uttered do not make sense. That was not a mathematical sentence. You spoke of ‘infinity’ as if it were a number. It’s not. You may as well ask, 'What is truth divided by beauty?’ I have no clue. I only know how to divide numbers. ‘Infinity,’ ‘truth,’ ‘beauty’—those are not numbers.
My stand-up is more like how I am in real life. I don't really do a character thing in stand-up. It's just a bunch of sentences that are supposed to be funny.
Campaign analysts say that Dean has produced the most innovative web site in this year's presidential race. I particularly like today's blog, which consisted of the sentence 'I hate myself,' typed four billion times. In Dean's case, this may be the first instance where the actually entity represented by the web site has crashed more often than the site did.
I am grateful to Stacy Schiff first of all because she can write a sentence-because she offers us her scholarship with wit, clarity, and grace. Once again, she has done what only the best writers can do: she has made the world new, again.
Can we not say 'dumped' and 'Bellas' in the same sentence, please?
I think that when you're writing plays, and I think it's also true with novels, it helps to have an ear for the music of language, for what we call poetry, for the sound effects and the way that the sound can produce sensual feeling at odds with or consonant with the content of the work. Your work is also gorgeous writing. It's very unfortunate when you open a novel that everybody's loving and it's just, you know, an excruciatingly bad sentence.
In how few words, for instance, the Greeks would have told the story of Abelard and Heloise, making but a sentence of our classical dictionary.... We moderns, on the other hand, collect only the raw materials of biography and history, "memoirs to serve for a history," which is but materials to serve for a mythology.
I think people are surprised when I string two sentences together. But I had a fiercely academic upbringing.
My music is more like ghetto gospel; there's a message in my words, so people listen. Sometimes you might here different things; it depends on how you feel. You might feel down, and I might be the cat in the same sentence saying, "You need to get up and do your thing." And then I could be the same cat, when you at the top of your game, telling you, "It feel good, don't it?" but with the same words.
I hardly know what I'm going to write - an article, a story, a poem in free verse - or in some regular form. I only know that when I have the first sentence. And when the first sentence makes a kind of pattern, then I find out the kind of rhythm I'm looking for.
I always have music on unless I'm reading aloud, which I always do before I hand anything in. It's the only way to know if a sentence really works, without clunks or cul-de-sac clauses.
I always look for a "rhythm" in my writing. A cadence to the sentences. Sometimes I think of pieces I write in a song writing infrastructure - i.e., a verse, a chorus that I return to, a bridge that's something differenct, a chorus that I return to.
He mouths a sentence as curs mouth a bone.
An investigation found the specific people who authorized the warrantless wiretapping of millions and millions of communications, which per count would have resulted in the longest sentences in world history, and our highest official simply demanded the investigation be halted. Who "can" be brought up on charges is immaterial when the rule of law is not respected. Laws are meant for you, not for them.
What you feel when you're writing is the relief of thinking: if you write the sentence correctly, you're clarifying. If you write the right sentence, nothing feels as good.
I'll have a sentence in my head that's kind of beautiful and interesting, but I'm not sure why or where it's coming from. So it's kind of funny, because when people point out patterns or themes, it's the exact opposite of my film school experience.
I don't run away from the idea of philosophy as seductive. I want the sentences to be prose but intense prose, to show that, like life, thinking is not linear.
I grow very impatient with prose writers who don't pay attention to the cadence of the sentence. If you start as a poet, you're wooed by the music of language; you want to put that into your practice.
Definitely you don't become famous by doing something bad; that's a professional death sentence.
I try to make images that have the immediate presence we take for granted in objects - a chair, a shoe, a book, a Judd - and compose them like sentences.
Sometimes if I really want to get someone's attention, I'll start a sentence with something like, "I'm not racist, but..." I say, "I'm not racist, but you look great today." They say, "That wasn't racist at all." I said, "I know. I said I'm not racist. You never listen. Typical Mexican."
I think it's important to be accurate on the level of the word, but it's also important to be accurate at the level of the sentence, at the level of the paragraph. Sometimes you lose sight of that - I remind myself to go back and read.
You can tell within a sentence if something is fiction or non-fiction. You can tell in the artifice of the language or the care of the construction the difference between art and life.
If you are forced to describe things for someone else, it sharpens your senses. And also your sense of how hard it is to make the translation from the vibrant, multi-faceted world to a sentence that distils it.
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